Why I'd like to be ... Julian Sands in A Room With a View | Film | The Guardian Role model Why I'd like to be ... Julian Sands in A Room With a View Continuing our series in which writers reveal the movie characters they want to emulate, Laura Barton revives her tomboy teen admiration for George Emerson in the 1985 adaptation of EM Forster's novel of Edwardian repression Julian Sands and Helena Boham Carter in A Room With a View: 'Breathtaking kisses in barley fields.' Photograph: Moviestore Collection Share on Messenger Close I was perhaps 12 the first time I saw A Room With a View, Merchant Ivory's sumptuous adaptation of EM Forster's novel, which explored themes of passion and repression in the Edwardian era, set against the backdrops of Italy and England. There were Baedekers and mackintosh squares, cornflowers, carriages, breathtaking kisses in barley fields .

Dame Kiri Te Kanawa sang Puccini's O Mio Babbino Caro; Denholm Elliott read Samuel Butler's The Way of All Flesh; a swarthy Italian was stabbed to death in the Piazza della Signoria, his bloodied face washed clean in the Fountain of Neptune. For a tomboy on the cusp of adolescence, it was a perplexing film. I knew that I was expected to identify with Helena Bonham Carter as Miss Lucy Honeychurch, the exquisitely beautiful heroine with the pouty mouth who wears such embroidered finery and plays Beethoven till it makes her peevish. But I recall on that first viewing (and indeed subsequent viewings too) a greater aspiration towards Julian Sands as George Emerson, a young man who works on the railways and reads Nietzsche on the side, who is earnest in his pursuit of truth and beauty, but also given to bursts of uncontained amusement. Reading on a mobile? Click to view There was lust in there, certainly — how not to blush before a man so startlingly handsome and so given to passionate kissing amid Italian fields? But there was another kind of desire in me, too.

Part of it lay in his approach to life, in his embracing of the "eternal 'Yes'" — in his fondness for painting Thoreau quotations on wardrobe doors and question marks on picture frames, as well as for climbing up into the trees and shouting at the sky: "BEAUTY! JOY!" until he falls from the branches. But it lay in his easy physicality too. He was forever climbing trees, or walking back to the Pensione Bertolini in the rain. He rode a bicycle with such confident pleasure, he leapt over tennis nets, and in one particularly memorable scene he joined Lucy's brother Freddy and the family vicar Mr Beebe as they cavorted joyously, nakedly in a lake on a hot day. To borrow the words of Walt Whitman, speaking of another Emerson entirely: "I was simmering, simmering, simmering; Emerson brought me to a boil." With some delight I realised that I wanted to be George Emerson. How wonderful it would be to ride a bicycle so assuredly! How splendid to bathe in a Surrey lake so gladly and without care! How thrilling it would be to live openly, without reservation or hesitation!

Much of Forster's novel was concerned with the matter of "inside" and "outside" — Lucy has led a buttoned-up existence, her horizons, her education, her person restricted by the fact that she is female and upper-class; George has been raised in unconventional fashion, without religion, with a reverence for nature and the world, for free-thinking and sensuality. The central question is whether Miss Honeychurch could ever be persuaded to reject the confines of her social standing and her gender, and to live as passionately she plays the piano — to leave the room, in effect, and step into the view. Reading on a mobile? Click to view Watching this film on the edge of my teenage years, on the brink of womanhood, I felt very keenly the looming restrictions ahead: the pressure to conform, the necessity of behaving as a girl is supposed to behave. And it seemed to instil in me a kind of resolution: I would sooner be an Emerson than a Honeychurch, I would rather be a George than a Lucy. There is a moment in the film where Sands leans against a doorframe . He is wearing striped braces and has the sleeves of his shirt rolled up, while around him sit boxes of books.

Freddy invites him to "come and have a bathe", and away they head to the lake, George pushing off from the lintel and out into the summer's day, moving effortlessly from inside to outside. It has remained in my mind ever since as an image of consummate masculinity. Women don't get to lean against doorframes like that — never mind splash about naked in lakes. At least not without people casting tiresome aspersions. So whenever I do something that feels to me mildly liberating, whenever I feel I am rebelling against the restrictions of being female, I think of it as my George Emerson moment, me pushing off from the doorframe, out from the room and into the view. E.M. Forster Biography | List of Works, Study Guides & Essays | GradeSaver Forster, E.M. Biography of E.M. Forster Edward Morgan Forster was born in London on the first day of 1879. His father, an architect from a strict evangelical family, died of consumption soon after Forster was born, leaving him to be raised by his mother and paternal great-aunt. Because his mother was from a more liberal and somewhat irresponsible background, Forster's home life was rather tense.

He was raised in the household of Rooksnest, which inspired Howards End . Forster was educated as a dayboy at the Tonbridge School, Kent, an experience responsible for a good deal of his later criticism of the English public school system. He then attended King's College, Cambridge, which greatly broadened his intellectual interests and provided him with his first exposure to Mediterranean culture, which counterbalanced the more rigid English culture in which he was raised. Forster became a writer shortly after graduating from King's College. His first novels were products of that particular time -- stories about the changing social conditions during the decline of Victorianism. However, these earlier works differed from Forster's contemporaries in their more colloquial style and established the author's early conviction that men and women should keep in touch with the land to cultivate their imaginations. He developed this theme in his first novels, Where Angels Fear to Tread (1905) and The Longest Journey (1907), followed by the comic novel A Room With a View (1908), which concerns the experience of a young British woman, Lucy Honeychurch, in Italy.

However, Forster's first major success was Howards End (1910), a novel centered on the alliance between the liberal Schlegel sisters and Ruth Wilcox, the proprietor of the titular house, against her husband, Henry Wilcox, an enterprising businessman. The novel ends with the marriage of Henry Wilcox to Margaret Schlegel, who brings him back to Howards End, reestablishing the Wilcox land link. When composing this novel, Forster was part of the Bloomsbury Group, a set of unconventional British bohemian thinkers that included Virginia Woolf, John Maynard Keynes, Dora Carrington and Lytton Strachey. Forster spent three wartime years in Alexandria doing civilian work and visited India twice. After he returned to England, inspired by his experience in India, he wrote A Passage to India (1924). The novel examines the British colonial occupation of India, but rather than developing a political focus, explores the friendship between an Indian doctor and British schoolmaster during a trial against the doctor, based on a false charge.

A Passage to India is the last novel Forster published during his lifetime, but two other works remained, the incomplete Arctic Summer, and the unpublished complete novel Maurice, which was written circa 1914, but published in 1971 after Forster's death. Forster specifically requested the novel be published only after his death due to its overt homosexual theme. Although Forster published no novels after A Passage to India, he continued to write short stories and essays until his death in 1970. He published several anthologies, including The Celestial Omnibus (1914) and The Eternal Moment (1928), two collections of short stories, Abinger Harvest (1936), a collection of poetry, essays and fiction, and several non-fiction works. Forster also wrote the libretto to the Benjamin Britten opera " Billy Budd ." The essays by Forster as well as his frequent lectures on political topics established his reputation as a liberal thinker and strong advocate of democracy. Forster was awarded membership in the Order of Companions of Honor in 1953 and received the Order of Merit from Queen Elizabeth in 1969.

He died in June of 1970 after a series of strokes. Today, many people know of E.M. Forster due to the many film adaptations of his work. Titles by Forster that are immortalized not only on the page but also on film include A Passage to India (1984), A Room with a View (1986), Where Angels Fear to Tread (1991), and Howards End (1991). It is ironic that so many of his titles were made into movies, many with great success, as throughout his life he remained adamant about the difficulty of adapting books to stage or film. In 1919, he contributed regularly to the London literary magazine "The Athenaeum", often criticizing various attempts to convert written work to the stage. For him, the individual experience of reading a book was something that could not be captured in another form of media. Despite his beliefs, many of the film adaptations of Forster's work were met with widespread enthusiasm and praise, including multiple Academy Award nominations. Study Guides on Works by E.M. Forster A Room With a View by Edward M. Forster - Free at Loyal Books By: Edward M.

Forster (1879-1970) A Room With a View opens with Two Englishwomen touring Europe. The older one is poor, bossy, old fashioned and a great upholder of what is “proper.” The younger one is less certain of herself, but holds within her the makings of a passionate, emotional and independent woman. In Florence they are allotted a room overlooking a dull courtyard, whereas they had specifically asked for a “view.” A fellow guest offers them his own rooms which offer wonderful vistas of the Arno. The older woman instead of appreciating his courtesy, sees this as a breach of propriety. What follows is a romantic novel, a treatise on the independence of women and a penetrating portrayal of hypocritical Edwardian society and politics. A Room With a View by Edward M Forster was published in 1908. He wrote the early parts of the book while actually traveling in Italy with his mother and hence provides an almost first hand view of the English abroad. It was his third novel and many consider it to be one of his most optimistic. The tone is also considerably lighter than his earlier books, Where Angles Fear To Tread and The Longest Journey.

Along with Angels, it is also seen as the two “Italian novels” that Forster wrote, in which he explores the narrow-mindedness and silly conventions followed by the English when they travel. The heroine, Lucy Honeychurch, represents a young and impressionable generation just emerging from the chains of society's illogical and unfair restraints. She is unsure, but courageous and passionate. Forster's books are deeply influenced by his humane and compassionate views. Another major theme in Forster's work is the conflict between individual freedoms, desires, sexuality and society's repressions and restrictions. He also uses symbolism and mysticism as vehicles to convey his ideas. In A Room With a View, the young Lucy is torn between the demands of two men she encounters in Florence. The wealthy Cecil Vyse can offer her everything in terms of material wealth and comfort, while the poor, but passionate George Emerson represents all that finds echoes in her heart. Other interesting characters like Rev Beebe, the Miss Alans (who are never seen apart), Miss Lavish a pretentious writer and the liberal, large hearted Mr. Emerson make A Room With a View an interesting and memorable read.

A Room With a View was adapted first for the stage in 1975 and later went on to be made into a much acclaimed film that won scores of popular and critical awards and featured several well-known actors. It was also successfully adapted for television by the BBC. A Room With a View opens with Two Englishwomen touring Europe. The older one is poor, bossy, old fashioned and a great upholder of what is “proper.” The younger one is less certain of herself, but holds within her the makings of a passionate, emotional and independent woman. In Florence they are allotted a room overlooking a dull courtyard, whereas they had specifically asked for a “view.” A fellow guest offers them his own rooms which offer wonderful vistas of the Arno. The older woman instead of appreciating his courtesy, sees this as a breach of propriety. What follows is a romantic novel, a treatise on the independence of women and a penetrating portrayal of hypocritical Edwardian society and politics. A Room With a View by Edward M Forster was published in 1908. He wrote the early parts of the book while actually traveling in Italy with his mother and hence provides an almost first hand view of the English abroad.

It was his third novel and many consider it to be one of his most optimistic. The tone is also considerably lighter than his earlier books, Where Angles Fear To Tread and The Longest Journey. Along with Angels, it is also seen as the two “Italian novels” that Forster wrote, in which he explores the narrow-mindedness and silly conventions followed by the English when they travel. The heroine, Lucy Honeychurch, represents a young and impressionable generation just emerging from the chains of society's illogical and unfair restraints. She is unsure, but courageous and passionate. Forster's books are deeply influenced by his humane and compassionate views. Another major theme in Forster's work is the conflict between individual freedoms, desires, sexuality and society's repressions and restrictions. He also uses symbolism and mysticism as vehicles to convey his ideas. In A Room With a View, the young Lucy is torn between the demands of two men she encounters in Florence. The wealthy Cecil Vyse can offer her everything in terms of material wealth and comfort, while the poor, but passionate George Emerson represents all that finds echoes in her heart.

Other interesting characters like Rev Beebe, the Miss Alans (who are never seen apart), Miss Lavish a pretentious writer and the liberal, large hearted Mr. Emerson make A Room With a View an interesting and memorable read. A Room With a View was adapted first for the stage in 1975 and later went on to be made into a much acclaimed film that won scores of popular and critical awards and featured several well-known actors. It was also successfully adapted for television by the BBC. Stream audiobook and download chapters A Room with a View (1985) - IMDb IMDb 17 January 2017 2:03 PM, UTC NEWS There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error A Room with a View ( 1985 ) Unrated | When Lucy Honeychurch and chaperone Charlotte Bartlett find themselves in Florence with rooms without views, fellow guests Mr Emerson and son George step in to remedy the situation. Meeting...

See full summary » Director: From $2.99 (SD) on Amazon Video ON DISC a list of 46 titles created 13 Mar 2011 a list of 30 titles created 17 Dec 2011 a list of 40 titles created 20 Feb 2014 a list of 41 titles created 29 May 2014 a list of 38 titles created 22 Jul 2014 Title: A Room with a View (1985) 7.4/10 Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. Won 3 Oscars. Another 21 wins & 23 nominations. See more awards » Photos A businessman thwarts his wife's bequest of an estate to another woman. Director: James Ivory A butler who sacrificed body and soul to service in the years leading up to World War II realizes too late how misguided his loyalty was to his lordly employer.

Director: James Ivory After his lover rejects him, a young man trapped by the oppressiveness of Edwardian society tries to come to terms with and accept his sexuality. Director: James Ivory It's the Edwardian era. The Honeychurches - Marian Honeychurch and her two just of age children Lucy Honeychurch and Freddy Honeychurch - are a carefree and fun-loving family that live in ... See full summary » Director: Nicholas Renton Edit Storyline When Lucy Honeychurch and chaperone Charlotte Bartlett find themselves in Florence with rooms without views, fellow guests Mr Emerson and son George step in to remedy the situation. Meeting the Emersons could change Lucy's life forever but, once back in England, how will her experiences in Tuscany affect her marriage plans? Written by Bridget Jones 11 April 1986 (UK) See more » Also Known As: Soba s pogledom See more » Filming Locations: Did You Know? Trivia Charlotte Bartlett and Eleanor Lavish discuss the plotline of E.M. Forster 's other Italian novel "Where Angels Fear to Tread" when on the picnic.

Helena Bonham Carter starred in the film adaptation of the novel, Where Angels Fear to Tread (1991). See more » Goofs As the steam train pulls into the station, in the background can be seen a wagon/car in British Rail blue with yellow roof, and also a self-propelled diesel rail-car. See more » Quotes Charlotte Bartlett : This is not at all what we were led to expect. Lucy Honeychurch : I thought we were going to see the Arno. Charlotte Bartlett : The signora distinctly wrote, South rooms, with a view and close together, instead of which she has given us North rooms without a view and a long way apart. Chi il bel sogno di doretta from "La Rondine" Conducted by John Pritchard (as Sir John Pritchard) Courtesy CBS Masterworks (Washington, DC) – See all my reviews This movie remains one of my favorites of all time. The acting is extremely pro. A case in point, I didn't realize for 5 years after first seeing the movie that Daniel Day Lewis was "Cecil Vyse". That's acting!

"Lucy Honeychurch" (well played by Helena Bonham-Carter) embodies the struggle that most people must face at the beginning of their adult lives. Whether to listen to their own voice or the voice of others. Choosing one or the other can severely change the course of one's life. "George Emerson" as perfectly captured by Julian Sands, is the perfect man that most hope to find in their lifetime and we all push for "Lucy" to realize this. The supporting performances by the veteran cast that include Maggie Smith, Judi Dench, Denholm Elliot, Simon Callow (the wonderful Reverend Beebe) equally are brilliant. Well done! 32 of 43 people found this review helpful. Was this review helpful to you? Yes A Room with a View Reviews & Ratings - IMDb IMDb 75 out of 85 people found the following review useful: It's aging well from Illinois 20 December 2004 I have enjoyed 'A Room with a View' since it arrived on the scene in 1985. I have watched it many times and the video is wearing out and I fully intend to get the DVD of it soon.

I saw it again the other night and am still charmed by it, in fact, I enjoyed it more than ever. Yes, it's a costume drama under glass, but it's a very well-done example of that popular genre. Films like this are greatly appealing to people like me who yearn for a gentler society and manners, though without the uptight staidness as exemplified by Aunt Charlotte (Maggie Smith) and Cecil Vyse (Daniel Day-Lewis). So this movie falls under the category of "comfort" film for me, and it is one of the very best. Often Merchant/Ivory productions ring false ('Remains of the Day', for example), when they attempt to make a political statement; in that case regarding the under-current in Britain that led to the surprisingly popular British Union of Fascists created by Sir Oswald Mosley prior to WW2. But when James Ivory and his team stick to romance and the pretty manners of Edwardians, they are hard to beat. Of the performers, Julian Sands seems the most "improved" in my opinion from earlier viewings. He is wonderful as the Byronic lover and has a ton of chemistry with Helena Bonham-Carter's lovely, spicey Lucy Honeychurch.

Daniel Day-Lewis's Cecil Vyse seems a bit more contrived as time passes but is in the end a touching portrayal of a type of man that I despise. There isn't weak link in the entire cast. The Puccini arias and Beethoven piano sonatas are beautiful and enhance the story. The photography is gorgeous and the other technical aspects are flawless. This is the pinnacle of Merchant/Ivory films, I cannot imagine them producing anything better in the future, but who knows. They do seem to be in a cultural rut now, however. The fringe film crowd will probably descry this sort of populist cinema, but I think that is narrow-minded snobbery, as boorish as Cecil Vyse and his insufferable intolerance to "the plebians." Was the above review useful to you? 65 out of 79 people found the following review useful: That rarest of great novel adaptations-- a film that's better than the book from Chicago, Illinois 20 September 2002 No disrespect to the achingly elegant prose of E.M.

Forster, but the last chapter of his novel simply cannot compare to this film's last shot, of a pair of lovers in a pensione in Florence, finally with their view of the Arno. As for the rest of this brilliant adaptation, it is populated with actors so perfectly cast it's as if they'd been invented for the roles-- Julian Sands as the Edwardian bohemian George Emerson, Helena Bonham-Carter, radiant as Lucy Honeychurch, Denholm Elliott, once again stealing every scene he's in, and Daniel Day-Lewis as the priggish Cecil Vyse, in a performance so self-consciously stiff he looks as though he were taken off the cover of the New Yorker. It's romantic, funny, stylish and impassioned. I first saw this film when it was released, and even at a young age, I knew I'd fallen in love. Twenty years later, I'm still in love with it. Was the above review useful to you?

43 out of 44 people found the following review useful: Edwardian love Author: (victor7754@hotmail.com) 15 August 2004 A Room with a View possesses a fabulous cast, beautiful cinematography, an awesome adapted script, and a tale of oppressed desire during the paradigm shift from the repressive Victorian age to the more liberal Edwardian time. The film moves at a deliberate pace of country strolls and carriage rides filling the viewer with literary awakenings and music compositions. Poppies, barley, and Florence architecture decorate the screen. The film is witty if anything with carefree individuals roaming about with leisure on their minds. Pure love and desire aches throughout and Italy is the place to bring the lovers together. It is a handsome picture. Detailed period pieces and costumes. The cast is phenomenal! Helena Bohnam Carter portrays the peevish Lucy Honeychurch on her way to becoming her prudish Cousin and chaperone, Charlotte Bartlett (The Great Maggie Smith.) However The spirit of Italy will prevent such an occurrence and fill Miss Honeychurch with pure desire for George, the man who was brought up from the evils and hate of the world. The adaptation is superb. Fun.

It is a film to live in and swim in the sacred lake. One of the best films of the 80's. Terrific! Was the above review useful to you? 29 out of 33 people found the following review useful: Vivid comedy of manners from United States 2 June 2007 "A Room with a View" is one of the best-known Merchant-Ivory films, the one that made their reputation for tastefully adapting Edwardian novels. Working from E. M. Forster's charming story, Merchant and Ivory add gorgeous Tuscan cinematography, lush opera music, and a cast of talented British actors. Even a skinny-dipping scene is done with enough class that the movie got away with a PG rating (though that probably wouldn't happen nowadays!). In short, Merchant-Ivory makes it look easyand this ease has led to charges of their films being dull and middlebrow, as well as to many imitators. But this stereotype of "a Merchant-Ivory film" fails to mention just how vivid and hilarious "A Room with a View" actually is.

With scene-stealing actors like Maggie Smith as a prim, passive-aggressive chaperone and Daniel Day-Lewis as a self-centered young man whose every gesture tells of his fastidious rigidity, a rich vein of humor runs through the film. The movie also delights in putting its heroine Lucy (a baby-faced Helena Bonham Carter) in situations that prove awkward, funny, and ultimately invigorating for a well-bred young lady of 1905. Lucy finds herself in a love triangle, with society telling her to choose Cecil (Day- Lewis) but a deeper force pulling her toward the unconventional, moody George Emerson (Julian Sands). A comedy of manners, "A Room with a View" is sometimes guilty of seeing its characters as types, rather than people. Even Lucy is not much more than "the young girl transfigured by Italy" that Miss Lavish (Judi Dench), a writer of cheap novels, labels her as. Still, it's easy to get caught up in the romance of this delightful movie. After seeing it, you'll want to go out and defend Truth and Love from all those who would deny them. Or at least to start saving up for a trip to Italy.

Was the above review useful to you? 32 out of 43 people found the following review useful: Remains a Favorite from Washington, DC 9 July 2003 This movie remains one of my favorites of all time. The acting is extremely pro. A case in point, I didn't realize for 5 years after first seeing the movie that Daniel Day Lewis was "Cecil Vyse". That's acting! "Lucy Honeychurch" (well played by Helena Bonham-Carter) embodies the struggle that most people must face at the beginning of their adult lives. Whether to listen to their own voice or the voice of others. Choosing one or the other can severely change the course of one's life. "George Emerson" as perfectly captured by Julian Sands, is the perfect man that most hope to find in their lifetime and we all push for "Lucy" to realize this. The supporting performances by the veteran cast that include Maggie Smith, Judi Dench, Denholm Elliot, Simon Callow (the wonderful Reverend Beebe) equally are brilliant. Well done! Was the above review useful to you?

28 out of 36 people found the following review useful: romantic and funny from New York 1 April 2004 This movie made me go to Florence, Italy. And once I got there, they actually showed it every other night at the pensione I stayed in. Though set in Victorian times, it is reminiscent of a Jane Austen novel- romantic and humorous, but more passionate. Characters are lovingly made fun of. The acting is wonderful. People you've seen elsewhere, but in unusual roles. Helena Bonham Carter is the confused heroine, Maggie Smith plays her passive-aggressive aunt, you won't believe it's Daniel Day-Lewis playing the most irritating pompous man, Judi Dench is a gossipy romance novelist, Julian Sands is adorably weird, and the supporting characters are also wonderful. It's one of favorites. Was the above review useful to you? 23 out of 28 people found the following review useful: My favourite film ever. 26 January 2001 *** This review may contain spoilers *** A lot of people expect this adaption of EM Forster's A Room with a View to be a stuffy costume drama.

They see actors in period dress and are not interested. What those people are missing out on is a very funny, contemporary, subtle, well-acted and insightful film. This is as good an adaption from literature to film as I've ever seen. The tale of a group of English tourists to Italy and how their experiences change them is a stunning satire of Victorian social norms without losing sight of the charm of the individual characters. Fantastic. Was the above review useful to you? 25 out of 33 people found the following review useful: an academy award winner that is really a true winner from australia, australia 4 February 2004 Merchant-Ivory always do a good job. Their films are not only stunning visually, but they evoke an emotional response. A Room with a View is superficially a love story. and I hate to admit it kind of stays there. But they stick to the books. Having read the respective, Howard's End, and a Passage to India, I can truly say they adhere to what has been written. But the books are completely about what you read between the lines. E.M Forester was pretty disgusted by his culture.

Yet it was his....and he loved it.......because it provided itself with misfits...i.e Lucy and her beau. He was an echo of Oscar Wilde. I think if you look very hard into this movie you will see that. Denholm Elliot is the epitome of an englishman who isn't an englishman. and he is the complete opposite of Mrs. Vyse....his opposing character. Even the vicar isn't what he supposed to be. Nude Bathing (Oh my Goodness) and in praise of passion he is a free spirit. I think anyone who can say bad about his movie has issues. Yes, its main-stream international. But its beautiful. Was the above review useful to you? 22 out of 31 people found the following review useful: Should have been Best Picture Author: Boyo-2 25 August 1999 This movie is completely beautiful and always fascinating to watch. Each actor does great work, with Maggie Smith (as usual) being the most memorable. Her nomination was deserved, but where was one for Daniel Day-Lewis? I thought he was more memorable than Denholm Elliot, who was nominated. This movie is one to own and take out to enjoy when the mood strikes.

Best line - "Because she IS Charlotte Bartlett"! Was the above review useful to you? 12 out of 14 people found the following review useful: A Room with a View 8 December 2006 *** This review may contain spoilers *** "A Room with a View" is certainly a film rarity, in that this adaptation fully lives up to an expectations set by E.M. Forster's classic novel. The film is set during the Edwardian period, a time marked by the replacing of Victorian ways with more liberal ideals. This idea is personified by the static characters of freethinking George Emerson (Julian Sands) and prudish Cecil Vyse (Daniel Day Lewis). Between these two extremes, we find our heroine Lucy Honeychurch (Helena Bonham-Carter), a young woman with a zest for life, but unsure of exactly what to do with it.

In referencing her skills at the piano, one character puts it quite nicely, "If Miss Honeychurch ever takes to live as she plays, it will be very exciting- both for us and her." It proves to be exciting for the audience too, as we watch her coming of age through fascinating interactions with both fiancée Cecil, and George, the young man she meets while abroad in Italy. It certainly doesn't hurt that these interactions are staged against some of the most beautiful scenery ever seen on the screen. Watching segments of the film with no sound could serve as an effective travelogue for Florence, Italy or Surrey, England. Of course that is just an added bonus, as it is Forster's characters who make the film come so alive. In addition to the three points of the love triangle, veteran actors such as Judi Dench, Denholm Elliot, and Maggie Smith give such performances that upon rereading the novel, I suspect it would be an impossible task to imagine these characters any other way. In addition to the perfect ensemble cast, directing/producing team Ismail Merchant and James Ivory give absolute proficiency to their adaptation of the novel. All the right scenes are there.

(We forgive them for a slight alteration to the classic "kiss in field of violets" scene, as violets were not in season during production.) Dialogue is taken directly from the pages of the novel. And they show boldness in their unrestrained filming of a playful skinny-dipping sequence. I suppose it would be hypocritical to shoot a scene lampooning repression in a repressed manner, however. The basic story of "A Room with a View" is one which may have been told before, but like that special parent or teacher we all had growing up, this film tells that story better than anyone else could ever hope to. Its characters, their sensibilities, and their nuances enchant us. The entire production is a shining example of period film-making and the finished product is one worthy of repeated viewings. It truly gets better each time you see it. You'll notice more too. For instance, pay attention to Lucy's love scenes with her two men, particularly what transpires and whether they take place in or out of doors. It is a testament to the adapters, that other such literary elements from the novel remain intact here. In short, Forster laid the blueprint from which these filmmakers built a tour de force.

Was the above review useful to you? Page 1 of 10: Food in books: meringues and iced coffee from A Room with a View | Books | The Guardian The Little Library Café Food in books: meringues and iced coffee from A Room with a View Kate Young writes about devouring EM Forster’s classic novel as a teen and recalls her romantic wishes to live and love like its heroine, Lucy Honeychurch Thursday 14 April 2016 11.00 EDT Last modified on Thursday 14 April 2016 11.03 EDT Share on Messenger Close When he was introduced he understood why, for Miss Honeychurch, disjoined from her music stool, was only a young lady with a quantity of dark hair and a very pretty, pale, undeveloped face. She loved going to concerts, she loved stopping with her cousin, she loved iced coffee and meringues. A Room with a View , EM Forster --- At school, I was the type who read the set texts before we went back each January. I have always identified strongly with Hermione Granger, a girl who was comforted and reassured when armed with knowledge.

We’d be sent home with our book lists each Christmas – plays for Drama, novels and poetry books for English, textbooks for Science and Maths. I would dutifully stack them in height order, cover them in sticky plastic and, stopping just short of working my way through my Maths book, familiarise myself with all of them. I liked to be prepared. I remember arriving in Year 11 Drama with a colour-coded, detailed outline of Much Ado About Nothing , including all of my favourite quotations and the reasons why Beatrice was the most exciting part in all of Shakespeare’s works (I still believe this). And so, when I was 14, I spent the summer reading and re-reading Forster’s A Room with a View, which was on my Year 10 reading list. I completely adored it. We’d won a trip to Europe two years earlier, and I’d spent a week in Tuscany blown away by the beauty of the vineyards, the architecture and the food. I could well imagine how it might encourage one to do crazy things, like snog a young man you hardly knew, in a field of violets. I was desperately romantic at that age.

I had just had my first “proper” kiss, with some Year 11 lad in a white singlet (his name now escapes me) while ‘Hey Mickey’ blasted from the speakers at a school dance. I spent the summer reading Sense and Sensibility and Jane Eyre , alongside A Room with a View, and I wanted more than anything to fall in love myself. George Emerson seemed an ideal candidate, and I couldn’t imagine anything better than being Lucy Honeychurch. I returned to school for Year 10, the book under one arm, eagerly anticipating discussing it at length. I’ve picked it up many times since. The quote that inspired these meringues is part of one of my favourite ever character studies. Mr Beebe, the local Reverend, having just been transported by Lucy’s passionate performance of Beethoven on the piano, is desperate to meet her. He is, however, quickly disappointed to find that she is the type who “loved” his sermons, and later is, when in Italy, completely dependent on her Baedeker. He memorably states: “If Miss Honeychurch ever takes to live as she plays, it will be very exciting both for us and for her”.

What follows is us watching her start, inch by inch and then finally with a great leap, to do just this. Before she does though, she is the sort of young woman who likes meringues and iced coffee. At the risk of labelling myself a “basic” Lucy Honeychurch – for this, of course, as my friend Sarah pointed out on Twitter , is what Mr Beebe (and Forster) is saying – I love meringues and iced coffee. And so, last week, I made some. They were just lovely. Basic, in the best possible way. Pinterest ‘The quote that inspired these meringues is part of one of my favourite ever character studies.’ Photograph: Kate Young 1 Preheat the oven to 100C. Rub the slice of lemon around the inside of the bowl, getting rid of any traces of fat. Tip the egg white into the bowl and whisk until it forms soft peaks. 2 Continue to whisk on a low-medium speed, adding the caster sugar one spoonful at a time. When the meringue forms glossy, stiff peaks, and the sugar has dissolved, transfer it to the piping bag.

Line the baking tray with greaseproof paper and snip a half-centimeter hole in the piping bag. 3 Hold the piping bag at a 90 degree angle to the baking tray, and pipe little meringues, 2cm in diameter. I think they end up looking lovely if you keep the piping bag close to the tray, and allow the meringue to spread from a central point, rather than swirling it around. Make them stand proud by slowly pulling the bag away from the tray, squeezing all the time. They’re not going to spread, but do give them a little breathing room. 4 Bake the meringues for an hour, until crisp on the outside and slightly chewy in the middle. Turn the oven off, and leave to cool in the oven for another hour. Meanwhile, make the coffee and pop it in the fridge. 5 Whisk the cream with the vanilla until soft and use it to sandwich the meringues together (try and pair similar sizes if you’re a bit rubbish with consistency - as I was). If you’d prefer jam or icing or something else instead, then do use that. 6 Add some ice to two glasses and pour the chilled coffee over the top.

Add a dash of milk or cream, stir, and enjoy with the meringues. A Room With a View: Amazon.co.uk: E. M. Forster: 9781483930046: Books A Room With a View One of these items is dispatched sooner than the other. Show details Buy the selected items together This item:A Room With a View by E. M. Forster Paperback Â£6.40 Only 1 left in stock (more on the way). Sent from and sold by Amazon. FREE Delivery on orders over Â£10. Details Howards End (The Penguin English Library) by E. M. Forster Paperback Â£6.99 In stock. Sent from and sold by Amazon. FREE Delivery on orders over Â£10. Details Customers Who Bought This Item Also Bought Page 1 of 1 Start over Page 1 of 1 This shopping feature will continue to load items. In order to navigate out of this carousel please use your heading shortcut key to navigate to the next or previous heading. Enter your mobile number or email address below and we'll send you a link to download the free Kindle App.

Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required. Apple To get the free app, enter your mobile phone number. or Don't have a Kindle? Get your Kindle here , or download a FREE Kindle Reading App . Product details Publisher: CreateSpace Independent Publishing Platform (6 Feb. 2014) Language: English Product Dimensions: 15.2 x 0.9 x 22.9 cm Average Customer Review: Product Description Review * Juliet Stevenson's narration is perfect...Forster couldn't be better served. The Oldie * Lucy's world comes to life through Juliet Stevenson's narration. Audiofile Magazine * Juliet Stevenson's reading is as perfect as expected from such a renowned actress. New Books Magazine --This text refers to an out of print or unavailable edition of this title. Book Description A classic novel, irresistibly repackaged. --This text refers to an out of print or unavailable edition of this title. By Ford Ka VINE VOICE on 23 Nov. 2008 Format: Paperback This charming little novel which has recently celebrated its centennary can be easily put down as a period piece.

E M Forster foresaw it already in his note which he added to commemorate the 50th anniversary of the first edition. Yet a prospective reader would be most wrong to do so. There is a lesson here which still needs to be learned by many. The title gives away some of the content - the main heroine, Lucy Honeychurch, needs to get away from the stuffy atmosphere of late Victorian England in which she was brought up - the symbol of which is for EMF the room. Her escape takes place in stages - the first of them is her trip to Italy where she finds landscapes and people most different from those she was accustomed to. It is also there that she meets the man she falls in love with, George Emerson. Yet these changes come too quickly for her. Lucy yields to the demands of her chaperone and escapes back to England, finding on the way a more appropriate suitor, Cecil Vyse. When the three young people meet again in England, a fight for Lucy's soul begins anew. Lucy has to decide whether she prefers Cecil who will keep her under his protection in his house as a work of art for others to admire, or George with whom she will have to face the challenges of the world but be free.

What is the lesson for us today in a world where there are no chaperones or stage-coaches? We also must make similar decisions - choose freedom which always comes at a cost or safety for which we must pay with our freedom. We choose between being true to ourselves or satisfying the demands of others. Lucy's adventures may serve as a perfect food for thought for those facing seemingly dissimilar but actually very similar decisions. It is the more valuable as Forster does not show easy decisions or easy solutions. The happy ending is never free and yet still worth striving for. A Room with a View - tutorial, study guide, and resources Mantex > A Room with a View – a study guide A Room with a View – a study guide plot, characters, resources, video, further reading A Room with a View (1905) is a comedy of manners and a satirical critique of English stuffiness and hypocrisy. Lucy Honeychurch must choose between cultured but emotionally frozen Cecil Vyse and the impulsive George Emerson. The Surrey stockbroker belt is contrasted with the magic of Florence, where she eventually ends up on her honeymoon. Upper middle-class English tourists in Italy are an easy target for Forster in some very amusing scenes. E.M.

Forster is a bridge between the nineteenth and the twentieth century novel. He documents the Edwardian and Georgian periods in a witty and elegant prose, satirising the middle and upper classes he knew so well. He was a friend of Virginia Woolf, with whom he worked out some of the ground rules of literary modernism. These included the concept of ‘tea-tabling’ – making the substance of serious fiction the ordinary events of everyday life. He was also a member of The Bloomsbury Group . His novels grew in complexity and depth, until he eventually gave up fiction in 1923. This was because he no longer felt he could write about the subject of heterosexual love which he did not know or feel. Instead, he turned to essays – which are well worth reading. E.M.Forster – portrait A Room with a View – plot summary Lucy Honeychurch, a young upper middle class woman, visits Italy under the charge of her older cousin Charlotte. At their guesthouse, in Florence, they are given rooms that look into the courtyard rather than out over the river Arno. Mr. Emerson, a fellow guest, generously offers them the rooms belonging to himself and his son George. Lucy is an avid young pianist. Mr.

Beebe an English clergyman guest, watches her passionate playing and predicts that someday she will live her life with as much gusto as she plays the piano. Lucy’s visit to Italy is marked by several significant encounters with the Emersons. George explains that his father means well, but always offends everyone. Mr. Emerson tells Lucy that his son needs her in order to overcome his youthful melancholy. Later, Lucy comes in close contact with two quarreling Italian men. One man stabs the other, and she faints, to be rescued (and kissed) by George. On a country outing in the hills, Lucy again encounters George, who is standing on a terrace covered with blue violets. George kisses her again, but this time Charlotte sees him and chastises him and leaves with Lucy for Rome the next day. The second half of the book centers on Lucy’s home in Surrey, where she lives with her mother and her brother, Freddy. A man she met in Rome, the snobbish Cecil Vyse, proposes marriage to her for the third time, and she accepts him. He disapproves of her family and the country people she knows.

There is a small, ugly villa available for rent in the town, and as a joke, Cecil offers it to the Emersons, whom he meets by chance in a museum. They take him up on the offer and move in, much to Lucy’s initial horror. George plays tennis with the Honeychurches on a Sunday when Cecil is at his most intolerable. Cecil reads from a book by Miss Lavish, a woman who also stayed with Lucy and Charlotte in Florence. The novel records a kiss among violets, so Lucy realizes that Charlotte let the secret out. In a moment alone, George kisses her again. Lucy tells him to leave, but George insists that Cecil is not the right man for her. Lucy sees Cecil in a new light, and breaks off her engagement that night. However, Lucy will not believe that she loves George; she wants to stay unmarried and travel to Greece with some elderly women she met in Italy. She meets old Mr. Emerson by chance, who insists that she loves George and should marry him, because it is what her soul truly wants.

Lucy realizes he is right, and though she must fly against convention, she marries George, and the book ends with the happy couple staying together in the Florence pension again, in a room with a view. Study resources self-righteous British chaplain in Florence A Room with a View – film version Merchant-Ivory 1985 film adaptation This is a production which takes one or two minor liberties with the original novel. But it’s beautifully acted, with the deliciously pouting Helena Bonham Carter as the heroine Lucy, plus Denholm Eliot as Mr Emerson, Daniel Day-Lewis as a wonderfully pompous Cecil Vyse, and Maggie Smith as the poisonous hanger-on Charlotte. The settings are delightfully poised between Florentine Italy and the home counties stockbroker belt. I’ve watched it several times, and it never ceases to be visually elegant and emotionally well observed. This film was nominated for eight Academy awards when it appeared, and put the Merchant-Ivory team on the cultural map. See reviews of the film at the Internet Movie Database Further reading David Bradshaw, The Cambridge Companion to E.M. Forster, Cambridge University Press, 2007 Richard Canning, Brief Lives: E.M.

Forster, London: Hesperus Press, 2009 G.K. Das and John Beer, E. M. Forster: A Human Exploration, Centenary Essays, New York: New York University Press, 1979. Mike Edwards, E.M. Forster: The Novels, London: Palgrave Macmillan, 2001 E.M. Forster, Aspects of the Novel, London: Penguin Classics, 2005 P.N. Furbank, E.M. Forster: A Life, Manner Books, 1994 Frank Kermode, Concerning E.M. Forsterl, London: Weidenfeld and Nicolson, 2009 Rose Macaulay, The Writings of E. M. Forster, New York: Barnes and Noble, 1970. Nigel Messenger, How to Study an E.M. Forster Novel, London: Palgrave Macmillan, 1991 Wendy Moffatt, E.M. Forster: A New Life, London: Bloomsbury Publishing, 2010 Nicolas Royle, E.M.

Forster (Writers and Their Work), Northcote House Publishers, 1999 Jeremy Tambling (ed), E.M. Forster: Contemporary Critical Essays, London: Palgrave Macmillan, 1995 manuscript page of Forster’s The Longest Journey A Room with a View – film interview Daniel Day Lewis on Cecil Vyse Other works by E.M. Forster Where Angels Fear to Tread (1902) is Forster’s first novel and a very witty debut. A spirited middle-class English girl goes to Italy and becomes involved with a local man. The English family send out a party to ‘rescue’ her (shades of Henry James) – but they are too late; she has already married him. But when a baby is born, the family returns with renewed hostility. The clash between Mediterranean living spirit and deadly English rectitude is played out with amusing and tragic consequences. Buy the book at Amazon US Howards End (1910) is a State of England novel, and possibly Forster’s greatest work – though that’s just my opinion. Two families are contrasted: the intellectual and cultivated Schlegels, and the capitalist Wilcoxes.

A marriage between the two leads to spiritual rivalry over the possession of property. Following on their social coat tails is a working-class would-be intellectual who is caught between two conflicting worlds. The outcome is a mixture of tragedy and resignation, leavened by hope for the future in the young and free-spirited. Buy the book at Amazon US E.M.Forster: A Life is a readable and well illustrated biography by P.N. Furbank. This book has been much praised for the sympathetic understanding Nick Furbank brings to Forster’s life and work. It is also a very scholarly book, with plenty of fascinating details of the English literary world during Forster’s surprisingly long life. It has become the ‘standard’ biography, and it is very well written too. Highly recommended. Cambridge Authors » A Room with a View: Just an Edwardian Rom-Com? Zadie Smith A Room with a View: Just an Edwardian Rom-Com? In this article, undergraduate Stephanie Derbyshire explores the way in which E. M. Forster uses art, and the experience of art, to explain his characters - both to us, and to themselves.

She loved Cecil; George made her nervous; will the reader explain to her that the phrases should have been reversed? (A Room with a View, chapter 14) Part of the appeal of A Room with a View is quite similar to that of a lot of modern romantic comedies: the will-they, won't-they tension of a girl who is involved with one man but in love with another, far more sympathetic character. Lucy Honeychurch is engaged to Cecil Vyse, socially a good match, but terribly self-involved and affected; she is actually in love with George Emerson, a young man considered far too forthright to be appropriate in social situations. For much of the second part of the novel Lucy is in complete denial of her feelings, and so the reader feels the building tension - and indeed, irritation - both of this and of her awkward relationship with Cecil, and finally is allowed relief when she eventually realises the truth of the situation and returns to Florence with George. One view of the novel is that it conforms with a common structure in romantic narrative: the heroine falls in love with the wrong man, a villain, but eventually realises her mistake and transfers her affection to the real hero who has been waiting in the wings.

However, Cecil, although irritating, is hardly villainous, and George is not a stereotypical hero; instead, Forster uses Lucy's suitors, and her reactions to them both, to examine and investigate the complexities of relationships possible - and advisable - between a man and a woman. Greek versus Gothic: The art of discriminating George from Cecil George Emerson and Cecil Vyse are very different characters, despite the fact that they both become involved with the same girl. Each man is represented by a fundamentally different set of artistic and cultural values: George is irretrievably linked, by his and Lucy's meeting in Florence, to a set of Roman and Greek heroes and Gods, whereas Cecil is introduced as being 'medieval. Like a Gothic statue' (A Room with a View, chapter 8). When introducing Cecil to the reader, Forster describes him as remaining 'in the grip of a certain devil whom the modern world knows as self-consciousness, and whom the medieval, with dimmer vision, worshipped as asceticism. A Gothic statue implies celibacy, just as a Greek statue implies fruition...' (A Room with a View, chapter 8).

This comment not only immediately draws a comparison between Cecil and George, but it also demonstrates his lack of vision and self-knowledge. Having previously described him as medieval, Forster now implies that Cecil, with the 'dimmer vision' of medievalism also wrongfully takes a positive view of his own flaw, 'worshipping' a character trait that the modern world has now recognised as 'a certain devil'. This use of the word 'devil' is also significant, as it implies a moral failure as well as just short-sightedness. Although Cecil is by no means evil, painting him as an ancient devil brought into the modern world allows Forster to cast the Emersons, by contrast, as natural, fruitful seekers of truth. George, therefore, is Cecil's Greek statue counterpart: although generally looked down upon as not being quite refined or elevated enough for society, he is free and unaffected, and has a profound effect on Lucy. She sees him not as she sees frigid Cecil, but as something linked to art and fertility, and even mystery. Meeting him in Santa Croce, she imagines him as something out of myth: She saw him once again at Rome, on the ceiling of the Sistine Chapel, carrying a burden of acorns.

Healthy and muscular, he yet gave her the feeling of greyness, of tragedy that might only find solution in the night. (A Room with a View, chapter 2) George becomes associated with 'high art', both as a cultural phenomenon and, amusingly, physically, since the paintings are on the ceiling. His 'burden of acorns' links him immediately with the warm wholesomeness of the natural world, despite his melancholy, and his health and muscularity implies youth and power, as well as potential sexual attraction. Although at this point George is world-weary and serious ('greyness'), Lucy's allusion to art and myth is thoroughly appropriate: whilst it is perhaps the austerity and self-denial of Cecil and asceticism that prompts Forster to link Gothic statues with celibacy, the vibrancy of the Greek world, and therefore the Emersons and their interest in truth, appears fertile and fruitful. Passion and ascetism: Lucy's view Lucy's relationship with George differs drastically from her relationship with Cecil both in the way she views each of them, and the ways they want to engage with her.

Cecil's relationship with Lucy is intensely self-conscious and prudish: nowhere is his ascetic medieval 'devil' more noticeable than at the point where he asks Lucy's permission to kiss her. The moment is awkward and profoundly unromantic, and even Cecil himself is aware of its 'absurdities': 'he considered, with truth, that it had been a failure. Passion should believe itself irresistible. It should forget civility and consideration and all the other curses of a refined nature' (A Room with a View, chapter 9). Cecil is too fettered, both by his medievalism and by his very modern pretensions to 'refined nature', to have an open and passionate relationship with Lucy. However, in comparison, George seems almost completely free of the social burdens that so constrain Cecil and, during the tourist party's drive in the countryside outside Florence, he fulfils everything that Cecil later defines as passion. Uninhibited, he expresses himself by shouting into the view, and when Lucy tumbles onto the scene, he kisses her in a way that is strikingly similar to what Cecil imagines a truly passionate kiss should be.

Cecil imagines the need to rush up and take Lucy in his arms without asking permission; George does exactly that. Other characters find him disconcerting: he is inappropriate and yet likeable. At the very beginning of the novel, in Florence one of the little old ladies, who seems at first to object to the Emersons, greatly puzzles Lucy's stuffy cousin Charlotte Bartlett by saying, Have you noticed that there are people who do things which are most indelicate, and yet at the same time - beautiful? (A Room with a View, chapter 1) Evidently, such a suggestion is itself rather indelicate, or so the lady thinks: 'have you noticed' is after all quite a tentative beginning, and the lady herself seems surprised that she might have noticed any such thing herself, hesitating before the word 'beautiful'. Charlotte is completely and immediately perplexed ('Are not beauty and delicacy the same?') and ostensibly takes a firm dislike to George and his father. When George kisses Lucy on the hillside and Charlotte happens to see it, she is far more outraged than Lucy is, and accuses George of being a womaniser who cares nothing for Lucy.

On the other hand, the romance of the situation evidently appeals to her: she recounts the incident to her friend Miss Lavish, who in turn includes it in her novel as a very intense, romantic scene. When this is read aloud by Cecil to Lucy and George, both Cecil and Lucy find it distasteful: Lucy, presumably, at least partly from embarrassment and self-denial, and Cecil because it represents a kind of passion for which he is eager, but of which he is incapable. Despite her seeming disapproval, Charlotte is in fact won over in the end, albeit in an extremely restrained way. Towards the end of the novel, just as things are coming to a head, she willingly allows Lucy to be alone with George's father, without Lucy knowing that she allowed it. And so, in the final chapter, George guesses that beneath her socially bound exterior, she has a romantic streak which wishes Lucy and George would be together: 'she fought us on the surface, and yet she hoped' (A Room with a View, chapter 20). In some sense, he could be right, although it could also be argued that this is just a means of demonstrating that moral truth should win through even the most tightly-guarded social mind.

George, then, appeals to the romantic even in somebody as socially paranoid as Charlotte Bartlett, and is himself romantic about the ideal of love and loving Lucy. Cecil on the other hand has very set ideas about how Lucy should be: his view of gender corresponds with Lucy's initial vague ideas of herself as a 'medieval lady', but Cecil does not understand the changes taking place in the ideal, and the fact that Lucy does not represent or desire it ('Before the show breaks up she would like to drop the august title of the Eternal Woman, and go there as her transitory self' - A Room with a View, chapter 4). Unlike the freer-thinking George, Cecil still believes in a 'feudal' relationship rather than one of companionship, expecting Lucy to revere him simply because he is a man, and for her to take on a traditional role of beauty and charm. Furthermore, he sees her as an artistic possession, like a beautiful flower or a Leonardo painting. It is only when she is leaving him that he sees her as a real woman rather than as something to own: 'He looked at her, instead of through her, for the first time since they were engaged.

From a Leonardo she had become a living woman, with mysteries and forces of her own, with qualities that even eluded art' (A Room with a View, chapter 17). It is only here that he realises what he is losing. However, by this point it is too late, and Cecil's most beautiful - and decent - moment is when he relinquishes Lucy and can return to his fundamental self-consciousness: 'On the landing he paused, strong in his renunciation, and gave her a look of memorable beauty. For all his culture, Cecil was an ascetic at heart, and nothing in his love became him like the leaving of it' (A Room with a View, chapter 17). Cecil is incapable of the companionship, passion and equality that George eventually provides, because he can only view Lucy as inferior to himself. He takes it upon himself to improve her, which leaves her feeling stupid and inadequate, whereas George has no desire to change her. Far from Cecil's selfish medievalism and his coldness in love, George is made happy and animated by loving Lucy as she is. Further Reading John Beer, The Achievement of E. M.

Forster (London: Chatto and Windus, 1962). James Buzard, 'Forster's Trespasses: Tourism and Cultural Politics', in E. M. Forster, ed. Jeremy Trambling (Basingstoke: Palgrave, 1995), pp. 14-29. Judith Scherer Herz, 'A Room with a View' in The Cambridge Companion to E. M. Forster, ed. David Bradshaw (Cambridge: Cambridge University Press, 2007), pp. 138-50. Brian May, The Modernist as Pragmatist: E. M. Forster and the Fate of Liberalism (Columbia: University of Missouri Press, 1997). David Medalie, E. M. Forster's Modernism (Basingstoke: Palgrave, 2002). Wilfrid Stone, The Cave and the Mountain: A Study of E. M. Forster (Stanford: Stanford University Press, 1966). Claude Summers, E. M. Forster (New York: Frederick Unger, 1983).

Further Thinking Stephanie Derbyshire argues that one of the most interesting aspects of A Room with a View is its careful chronicle of Lucy Honeychurch's choice of passionate Greek art (George) over medieval ascetism (Cecil). Do you think the novel agrees that one should live, and love, like art? Does Forster suggest any criticisms of or caveats about Lucy's choice? In this article Stephanie Derbyshire notes the way in which Charlotte Bartlett, Lucy, and George Emerson discover Miss Lavish's 'literary' account of the young lovers' earlier, intense encounter on the Italian drive. Lucy and George naturally see themselves in this literary portrait; or perhaps they see this literary portrait as themselves. How important do you think this experience is to the development of their feelings and the change in Lucy's resolve, and why? This entry was posted on Friday, September 11th, 2009 at 4:34 pm and is filed under Forster . You can follow any responses to this entry through the RSS 2.0 feed. Both comments and pings are currently closed.

Question: Lucy Honeychurch is the heroine of which EM Forster novel later made into a film?
Answer: A Room with a View